HVX200 1080i 24pA comes into FCP as 1080p30

[Jeremy Garchow]

[Jordan Livingston] “In any event, it USED to be that if you shot in 24pA, you would use Final Cut Pro’s “Log And Transfer” and decided to either “Remove Advanced Pulldown and Duplicate Frames” OR not. The former resulted in 23.98 footage, the latter resulted in 60i footage – both from the same 24pA P2 source!
“

Yes, this has been reported a lot on this forum that the 24pA workflow results in FCP tagging the material as 30p and does not actually remove the pulldown. It’s obviously busted.

[Jordan Livingston] “This results in a stuttery “look,” as the footage is clearly not 30p – it is 60i with pulldown inserted.
“

As it always is when shooting 24p with DVCPro HD. You either shoot 24p or 24pA. The DVCPro HD codec does not record directly to 1080psf23.98.

[Jordan Livingston] “The workflow, in the good old days, was simply to edit this in a 60i timeline, which could be combined with SD footage, such as DigiBeta and even DV. Now, however, it seems that Final Cut Pro won’t make this possible as it is interpreting the clips incorrectly as 30p, rather than the intended 60i. “

Yes, send feedback. I want to try and test this out today myself as well.

[Jordan Livingston] “I do understand that the “Advanced Pulldown” can cause problems with certain playback devices, but my client was enamored by the ability to generate 60i and 23.98 from the same P2 materials – even though he usually needs to be working in 60i. “

If he needs to work in 60i, then you should shoot 24p regular. This will have 3:2 pulldown inserted properly. Or, you shoot 24pA, remove all pulldown and edit, then insert pulldown as you are mastering. You will have to account for the tc difference between 23.98p NDF and 29.97 DF for broadcast, though.

As a stop gap, check out MXFX from Raylight. This might help you with pulldown issues if you can’t get the Remove Advanced pulldown feature to work within FCP.

https://dvfilm.com/MXFX/index.htm

Jeremy